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Vestibule de la maison de lénine

$2,827
Painting
One of a kind work
80 x 60 cm
Recipient of the dedication:

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Technique
Oil painting
Type
One of a kind work
Material
Cardboard
Dimensions
80 x 60 cm
Framing
Quality Guarantee
Sold with a certificate of authenticity

Entry of Lenin's last resting place in Gorky Leninskie, Russia.

"In 2017 I had the honour of being invited in residence at the Gorky Leninskie Museum to participate in the "Plein Air" project with 6 other French artists. Each of us was welcomed by a major tourist attraction in Russia to paint his park. Beyond the park, I took advantage of my stay to immerse myself in Lenin's house, which responded to my vibration of the time. The autumnal lights passing through the thick windows threw a familiar intimacy on the furniture. Everything seemed to be temporarily abandoned by its last inhabitants, whose echoes still made the silence tremble.

100 years after exactly one hundred years after the Russian revolution, it was very moving to find myself immersed in this intimate place, a witness to history. I visited each room carefully and stopped to paint some of them, including this vestibule, the home's reception area. The first impression received from the meeting with this house was this mysterious and threatening vision of a space where sounds were absorbed by the omnipresent green color. Little furniture, a large metal locker left high on the paint, and a thin wooden railing revealing the presence of a staircase leading to the basement.

The light was struggling to spread there, leaving large shadows thickening in the corners. Close to the setting of a David Lynch film, this hallway tints its promise of a house full of secrets and emotions. This series of a dozen pieces gave rise to an exhibition in 2018 entitled "Chambers" at the Mémoires Vivantes gallery in Paris 12th century. - Sasha C. Bokobza

artist avatar

Sasha C. Bokobza

Emerging artist Emerging artist

33 fans

Paris (75), France

24 works

Sasha C. Bokobza works according to reality, movement and emotion. When they are alive, her models are the people she meets whose silhouette, gait and body inspire her with a singular emotion. It is the inner movement that animates the bodies she questions through drawing and observation. The notion of snapshots is also important, often she captures her drawings in a few minutes in the subway, on a street corner, at a concert, she keeps her equipment always with her: markers filled with acrylic paints and brown paper.

The landscapes also inspire him, often urban or related to water, the sea. The emotion of a sky crossed by clouds, its reflection in a lake. Light plays a key role and Sasha C. Bokobza is committed to studying the color of the moment. Night ambiences are part of his field of investigation. Every being, landscape or object is constantly crossed by a sum of events, sometimes accidents, that transform its trajectory and form. They set themselves "in motion" in the continuity of this trajectory from their origin to the moment they meet them.

These intentionally and emotionally driven masses tell him stories that he must observe and interpret. Some of his sketches made on the motif give rise to large-format oil painting in the studio. At this point, it is a question of revisiting the memory, this time by using its own inner dimension, the oil allows this, unlike the quick sketch where Sasha C. Bokobza is more of a receiver.

His latest series, "L'homme au chapeau", is a series of portraits featuring men turning their backs more or less. The costume is important here, it is a question of studying further the area of the shoulder, neck and head highlighted by the cut of a jacket, a collar and the inclination of a hat. The hat is here the symbol of virility, transferring attributes of strength and power to these characters. The point of view places the viewer in the blind spot of these characters seen as silent cowboys.

In slight movement we don't know if they arrive or leave. From this angle we can perceive the mystery that surrounds them and that provokes both fear and attraction. It is her gaze as a woman who questions herself on this opaque patriarchal figure, without judgment, and in the observation of her own desire. The work takes place in the workshop and in two stages: a first phase of research with the model to find the angle, movement, drape, light and emotion that Sasha C. Bokobza fixes in sketches, a second phase without the model where she executes an oil in large format according to her studies.

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